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Illustration from a 19th-century edition. Heauton Timorumenos (Ancient Greek: Ἑαυτὸν τιμωρούμενος, Heauton timōroumenos, The Self-Tormentor) [1] is a play written in Latin by Terence (Latin: Publius Terentius Afer), a dramatist of the Roman Republic, in 163 BC; it was translated wholly or in part from an earlier Greek play by Menander.
The book tells the story of an alligator named Alli, who lives at the zoo.One morning Alli wakes up with a terrible toothache, and feels miserable. His fellow zoo-animal friends offer well-meaning but non-productive suggestions regarding the toothache, and the zookeeper has nothing in his veterinary supplies to help Alli's pain.
In the 15th century, priest-physician Andrew Boorde describes a "deworming technique" for the teeth: "And if it [toothache] do come by worms, make a candle of wax with Henbane seeds and light it and let the perfume of the candle enter into the tooth and gape over a dish of cold water and then you may take the worms out of the water and kill ...
In Memoriam was a favourite poem of Queen Victoria, who after the death of her husband, the Prince Consort Albert, was "soothed & pleased" by the feelings explored in Tennyson's poem. [15] In 1862 and in 1883, Queen Victoria met Tennyson to tell him she much liked his poetry.
In the first section, poems are compared to commonplace items, including: a fruit, old medallions, the stone ledge of a casement window, and a flight of birds. In the next section, a poem is compared to the moon in terms of its universality. Lastly, the third section states that a poem should just “be,” like a sculpture or painting.
The poem was first presented as a public poetry reading at a New Year's Eve party in 1898. It was soon published in the San Francisco Examiner in January 1899 after its editor heard it at the same party. [2] The poem was also reprinted in other newspapers across the United States due to a chorus of acclaim. [2]
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In 1971, Les Crane used a spoken-word recording of the poem as the lead track of his album Desiderata. [20] His producers had assumed that the poem was too old to be copyrighted, but the publicity surrounding the record led to clarification of Ehrmann's authorship and the eventual payment of royalties.